Author: Editorial Team

Nonpoint has rolled out a lyric video for its new single “Is It”, a track set to hit all major streaming platforms on May 8. The song marks the first taste of the band’s next full-length release, The Last Word, due out in late summer 2026.

Working alongside its independent label 361 Degrees Records LLC, Nonpoint is treating “Is It” as a clear starting point for what comes next. Instead of a standard release cycle, the band introduced the track through a hand-drawn animated lyric video, giving it a raw visual edge that lines up with the song’s tone while offering an early glimpse into The Last Word.

Frontman Elias Soriano framed the bigger picture behind the release: “In a world that sometimes wants to put a timestamp on creativity, The Last Word is our way of saying we’re just getting started. We’re pushing back against expectation and pushing forward into our own next chapter.”

On the meaning behind “Is It”, Elias Soriano pointed to a more personal angle: “‘Is It’ is that internal conflict where you question getting too involved? Did I push too hard? Did I ask too much? It’s that feeling of wondering if doing what you thought was right actually meant hurting the people around you.”

He also broke down the concept behind the album artwork, tying it directly into the band’s current mindset: “This album cover tells a piece of our story. After years of making music, we feel more aligned than ever — musically, visually, and creatively. We’re writing some of the strongest material of our career, our live shows are as powerful as they’ve ever been, and the band feels focused and energized. The pencil on the cover represents what it’s like to be handed one last tool and expected to fit everything you have left to say into it. Not because the ideas are gone, but because longevity often comes with assumptions and limits. The Last Word isn’t about accepting an ending. It’s about challenging that narrative. If this is the pencil we’re being handed, we’re going to use it — and make sure the words written with it still matter.”

Nonpoint has already started bringing new material to the stage. The band performed “Is It” and “Red Yeti” live during its April 25 headlining show at Ritz Ybor in Tampa, Florida. “Red Yeti” features a guest spot from Sumo Cyco vocalist Skye Sweetnam. The show kicked off Nonpoint’s The Outta Control Tour, with support from Soil and Sumo Cyco.

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Godsmack frontman Sully Erna has cleared up what he says was a media misread of his earlier comments about the band’s future, confirming that new music is in the works — with a lineup that no longer includes all four original members.

Speaking on April 23 with Eddie Trunk on SiriusXM’s Trunk Nation, Erna explained (transcribed by Blabbermouth): “I think some press misunderstood that. What I had said was, if I remember correctly — I don’t know; maybe I was a little foggy at the time — but I just said that I was pretty sure that this would be the last full body of work from Godsmack, from the original members, that we wouldn’t be able to do this anymore because these guys [guitarist Tony Rombola and drummer Shannon Larkin] were gonna kind of take their final curtain call and bow out. And I knew that this was most likely gonna be the last full body of work from the original members.

“But now here we are. Me and [bassist] Robbie [Merrill] had a long talk. We were, like, ‘Well.’ We had a decision to make, and we said, ‘Well, we’ve still got some gas in the tank here. I don’t really wanna hang it up yet.’ And he’s, like, ‘Let’s go around.’ And so we brought in these new guys, and it’s sounding great. So we’re, like, yeah, there’s probably gonna be some new music coming. I mean, it may not hit the streets till early ’27, but we’re gonna do something, for sure. But it just won’t be with all the original members anymore.”

When Trunk pointed out that Erna — as a songwriter — will always find a way to keep creating, Sully agreed: “Yeah, for sure. I mean, I’ll always write music. Even if I don’t tour anymore, even if I never make another record again, I am always gonna write music. I may write, produce, and arrange for other artists. I might just do stuff for solo, collabs, things like that. Music’s in my blood. I’m not giving up music.

“But there’ll be a time and place where I’ll just be, like, ‘Well, maybe it’s…’ And we’ll see how this goes. Listen, Robbie and I even said, hey, if we go out there and this just isn’t feeling good anymore because it’s not our brothers and it’s a bit foreign feeling, then… We made a decision, just like we did when we started this band, to say, ‘Hey, you know what?! We had a good run.’ Give each other a big hug. Neil Peart himself told me ‘nothing great lasts forever’. And that’s kind of how I feel. And so when that day comes, we’ll give each other a big hug and we’ll call it a good run, and we’ll step away from it.

“But right now I don’t think that’s happening. This band sounds better than ever. We have two new guys that are breathing some new life into the energy in this band, and for sure some new music’s gonna come eventually. We’re gonna be doing a bunch of touring, and then we’ll see how it goes, how it feels.”

The two new members are guitarist Sam Koltun — who first toured with the band in Europe in early 2025 — and drummer Wade Murff. Erna introduced them publicly during the interview:

“Sam‘s on board now full-time, and he’s gonna be the new player from this point forward. And the drummer that we chose, his name is Wade Murff. He’s worked with Daughtry and some other acts. A fairly under-the-radar kind of guy. A strong player. A great dude. Really good with attention to details, as Sam is.”

Sully expressed confidence in the rebuilt lineup heading into rehearsals: “I have complete confidence in this, although we start rehearsals next week. I’m just really confident that this is gonna be just as good, if not better than ever, because these guys came in with the right attitude. They honored the catalog, they honored the playing. They came in and played it right, rather than trying to reinvent it. And as you know, a guitar can sound like a guitar, a drum can sound like a drum. Until you replace the vocalist, that’s when the sound really changes. So I really feel that the fans will be able to come and enjoy the music as they have always known it, because it won’t sound foreign to them, like there’s a new singer singing Godsmack stuff.

“And plus their showmanship even elevates it a little bit more. I mean, Shannon‘s hard to replace. He’s the GOAT [Greatest Of All Time]. If you see that dude play, he’s a tough cookie to replicate or replace live visually. But this guy, Wade, he’s strong. He’s got some great chops, and he’s really playing the stuff solid. I’m very happy to take them on tour and introduce them. And this is gonna start the next chapter in our life here, Godsmack 2.0.”

Murff, based in Los Angeles, reportedly started playing drums at age 4. He cites Led Zeppelin‘s John Bonham and Van Halen‘s Alex Van Halen as early rock inspirations, with Slayer‘s Dave Lombardo and Pantera‘s Vinnie Paul Abbott pushing him toward the harder side of the spectrum.

In his own words, Wade described his approach: “Don’t get me wrong, I appreciate technique and precision, but I love seeing drummers that hit hard and play with a lot of heart and physicality. Live, I always want to play on the edge between control and chaos; something could break at any moment, someone might get hurt… especially me. [Laughs] Seriously though, I’m committed to delivering that type of show every night, no excuses.”

Murff has worked live and in the studio with Daughtry, Prong, Sebastian Bach, Orgy, and Doyle of the Misfits.

The band’s most recent studio album, Lighting Up The Sky, came out in February 2023 via BMG, co-produced by Erna and Andrew “Mudrock” Murdock (Avenged Sevenfold, Alice Cooper). Their previous release, When Legends Rise (2018), hit No. 1 on the U.S. Hard Rock, Rock, and Alternative album charts.

Godsmack hits the road this summer for “The Rise Of Rock” 2026 tour, a North American run with support from Stone Temple Pilots and Dorothy, promoted by Live Nation.

The post SULLY ERNA Says New GODSMACK Music Is Coming — Just Not With the Classic Lineup: “We’re Gonna Do Something, For Sure.” appeared first on Sonic Perspectives.

Rival Sons vocalist Jay Buchanan has been talking about where the band’s next album might be headed, and it sounds like a rawer, more stripped-back direction could be on the table.

Speaking with the U.K.’s The Sound Lab (transcribed by Blabbermouth), Buchanan acknowledged that some material is already written, but made clear the studio environment will shape where things land: “Yes, I have. And some music has been written, songs have been written. But I think that once we get in there, seeing the type of energy that the music takes on and the songs take on, I think that getting everyone together in the same room and kind of hashing it out, I think, is going to be — that’s really gonna dictate.

“Because the songs are one thing, but also the energy of the band, and when we become greater than the sum of its parts when we’re together, again, at its best,’ he added. “I think that letting that spirit and letting that energy be and do what it needs to do, I think that’s very important. So we’ll see that when we get into the studio. And we’ll do some writing in the studio as well.”

He also addressed the contrast with their last two releases, pointing toward a possible course correction: “In some ways, with the last two records that we put out, [2023’s] Darkfighter and Lightbringer, creatively they were a real stretch. And I’m very proud of those records, because we made some music that doesn’t sound remotely like anybody else. But I think at the same time, I think maybe we might be looking at a little bit of a return to form, like bring it back to a small club sound, a sweaty, small stage, sort of a high-energy sound. So I know I’m definitely gonna be looking to do that on at least a number of songs. But we’ll see about the entire collection. That remains to be seen.”

Back in March, Buchanan — who put out his debut solo album Weapons Of Beauty in February — was asked by SPIN Presents Lipps Service With Scott Lipps whether the next Rival Sons record would go heavier after his quieter solo detour. Jay was direct about it.

“That’s a fair question, because I’ve thought that same thing. I don’t have to just live within the — whatever one ballad we’re gonna have on this next record or whatever. I have a renewed sense of duty in so many ways. I don’t have anything to prove. I wanna have fun with my friends. And it’s crossed my mind many times — I just wanna make a fucking black T-shirt record. That’s it. Something really, really rough, really unrefined, and as close to the bone as possible.

“[Something like The Black Crowes‘ second album, 1992’s] [The] Southern [Harmony And Musical] Companion, like these ones where it’s, like, it’s so raw, it’s almost like toothache raw. Like, ‘Oh.’ I think I would like to do something like that. But at the same time, Scott [Holiday, Rival Sons guitarist] and I — it’s a collaboration. So once we put things together, it’s gonna be that way.”

The post JAY BUCHANAN On RIVAL SONS’ Next Album: “We Want To Bring Back A Small Club Sound, A Sweaty, Small Stage, Sort Of A High-Energy Sound”” appeared first on Sonic Perspectives.

Yngwie Malmsteen has wrapped up recording on his new solo album, the follow-up to 2021’s Parabellum. The Swedish guitar legend spoke with Eddie Trunk at the 2026 Monsters Of Rock festival in São Paulo, Brazil, in early April, giving an update on where things stand.

“I just finished recording a new album,” he said (transcribed by Blabbermouth). “I’ve been in the studio almost five months straight.”

The record will be a mix of vocal and instrumental tracks, and Malmsteen has designed it with vinyl specifically in mind. “I sing about four songs. And then [the rest of it is] instrumental. It’s a mix. But it’s made especially for the vinyl. So it’s exactly 46 minutes [long]. I made it especially so it’s gonna be a vinyl record. It’s gonna come out on everything, but it’s made to fit perfectly on a vinyl LP.”

As for the sound, he kept it straightforward: “It’s very Malmsteen-esque. It will be everything you expect and then some.”

Yngwie talked about his approach to making records — one that favors instinct over deliberate calculation. “I have the luxury of owning my own [recording studio], so I go in when I’m inspired. And I decided a long time ago, I’m not gonna try to do something special, either what other people think I should do or decide [ahead of time which direction to go] — except sometimes [I say], ‘Okay, I’m gonna make a blues album,’ or, ‘I’m gonna make an acoustic album,’ which has happened.

“But when I make the records that are, let’s say, a Yngwie Malmsteen album, I just let it flow. And I come up with maybe a hundred ideas, and I use nine or 10. So I take the best of what I think is the best, the most dramatic stuff, most interesting stuff — not necessarily a decided direction or whatever. It’s just natural, whatever comes out. And this particular album is gonna be very neoclassical.”

On the question of what makes instrumental music connect with audiences, Malmsteen invoked a familiar name. “I decided a long time ago to make honest music. Not to try to do something that’s fashionable or follow a trend or do what other people say. But what I’ve always done is [made] passionate music. As [Italian violinist and composer] Niccolò Paganini said, one must feel strongly to make others feel strongly. So I feel very strongly about the music, and apparently that translates out. So it seems to work.”

Touring-wise, Malmsteen has a busy stretch ahead. “We go to Europe in June, and then we go home a little bit, and then we go back to Europe in July. And then in September, I think we’re in Asia. Then October, November, United States.”

The new album will be his first studio release since Parabellum, which — like the new record — featured vocals on only four tracks. That album’s title is Latin for “Prepare For War.” Yngwie currently handles lead vocals in addition to guitar, backed by keyboardist Nick Marino, bassist Emilio Martinez, and drummer Kevin Klingenschmid.

In April 2025, Malmsteen released Tokyo Live through Music Theories Recordings, capturing a performance at Zepp DiverCity, Tokyo on 05/11/2024, recorded during his 40th-anniversary world tour.

The post YNGWIE MALMSTEEN Wraps Recording On New Solo Album: It’s Gonna Be Very Neoclassical — Everything You Expect And Then Some” appeared first on Sonic Perspectives.

Punk rock continues to hold a strong place in modern culture because of its core values and its ability to adapt across generations. One key reason for punk’s lasting appeal is its focus on independence and self-expression. Punk has always encouraged individuals to create, challenge norms, and build their own identity without relying on established systems. Another important factor is its political and social voice. Punk rock has long provided a platform for commentary on inequality, authority, and cultural change, giving it relevance in every era.

These qualities have allowed punk to move beyond music and influence other creative industries, including gaming. As games become more expressive and diverse, the raw energy and rebellious spirit of punk rock have found a natural home in digital environments.

Punk Rock in Video Games

Punk rock has influenced some of the most recognizable video games, shaping both their tone and visual identity. The genre’s emphasis on attitude, individuality, and defiance aligns closely with the themes explored in many modern titles. Mortal Kombat reflects punk ideals through its bold characters and uncompromising style. The game’s focus on intensity and identity mirrors the direct and expressive nature of punk music. Death Stranding brings a different perspective, using atmosphere and unconventional storytelling to create a unique experience. Its willingness to break traditional gaming structures connects with punk’s experimental approach to creativity. Sonic Adventure 2 captures punk energy through its soundtrack and fast-paced gameplay. The music and character design reflect a sense of movement and attitude that aligns with the genre’s spirit.

Across these titles, punk rock’s influence appears in visual design, music, and narrative direction. Developers use these elements to create experiences that feel expressive and distinctive.

Punk Rock Online Games

The influence of punk rock has also reached the world of online gaming. Casino developers have recognized the appeal of bold visuals and high-energy themes, incorporating punk-inspired elements into their games. This online casino has two dedicated games based on the music genre, Punk Rocker and Punk Rocker 2. Both capture the iconography associated with British punk rock, including vivid colors, edgy character designs, and a strong sense of attitude. These games translate the visual language of punk into interactive formats, allowing players to engage with the theme in a new way.

By bringing punk aesthetics into online platforms, developers expand the range of themes available to players. This approach adds variety and helps create a more dynamic gaming environment.

Punk Rock in Mobile Gaming

Mobile gaming has also embraced punk rock, particularly through titles that focus on creativity and music. Classic games Punk-o-matic and Punk-o-matic 2 are strong examples of how the genre translates into interactive gameplay. These games allow players to create their own punk music tracks while managing band elements and performance. The focus on creativity reflects one of punk’s defining characteristics, encouraging players to experiment and express themselves. The simple interface and engaging mechanics make these games accessible while still capturing the essence of the genre.

Mobile platforms provide an ideal space for punk-inspired games because they support quick, creative interactions. Players can engage with music, design, and gameplay in a way that feels immediate and personal.

Why Punk Rock Fits Gaming So Well

Punk rock and gaming share several key traits that make them compatible. Both value creativity, individuality, and the ability to challenge expectations. Games provide a space where players can explore identities and experiment with ideas, which aligns closely with punk’s cultural roots.

The visual style of punk, with its bold colors and distinctive imagery, translates effectively into digital environments. At the same time, the genre’s emphasis on energy and movement works well with fast-paced gameplay. These shared qualities make punk rock a natural influence in game design.

The Future of Punk in Gaming

As gaming continues to evolve, the influence of punk rock is likely to grow. Developers are constantly exploring new themes and styles, and punk offers a rich source of inspiration. From indie games to large-scale productions, the genre’s focus on expression and creativity can shape future experiences.

Advancements in technology also open new possibilities. Enhanced graphics, interactive music systems, and user-generated content tools allow players to engage with punk themes in more immersive ways. This creates opportunities for deeper connections between music and gameplay.

Conclusion

Punk rock remains a powerful cultural force because of its enduring values and its ability to adapt to new forms of expression. Its influence on gaming highlights how music and interactive media can intersect to create unique experiences.

From major video game franchises to online casino titles and mobile apps, punk rock has found a place across the gaming landscape. By combining strong visuals, creative freedom, and energetic design, developers continue to bring the spirit of punk into the digital world, ensuring its presence remains vibrant for years to come. For more music news, reviews, and interviews, do check out the rest of our site.

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Sharon Osbourne has reached a settlement with Jim Simpson — Black Sabbath‘s first-ever manager — over his plans to put out a collection of early recordings made by Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Wardunder their pre-Black Sabbath name, Earth.

Sharon broke the news on the latest episode of “The Osbournes” podcast, speaking with her son Jack. According to (transcribed by Blabbermouth), she said: “We settled with Jim Simpson, and the band now has their demos back. And all four of them [the original members of Black Sabbath] own it, which is where it should be. All of that stuff should be theirs. So it all ended well. So, yeah, they own them. We’re gonna talk about what everybody wants to do with it, and we’ll go from there.”

She also spoke about what’s on those recordings, noting that the Earth material sounds quite different from what Black Sabbath would go on to create — more blues-oriented, leaning away from the heavy sound the band became famous for. Even so, Sharon stressed their historical value.

“I just think it’s historically important — for music lovers of that genre. And then we got [the rights to] the pictures that were taken at that time too. So, that is all so important. I mean, listen, you [Jack] want those pictures. Everybody in the band’s kids and grandkids would love to see [them]… It’s special. And I’m just happy that it’s where it should be — with the band, and [they can decide] what they wanna do as a band, what they’re gonna do with it. So that’s great.”

Sharon also gave Simpson credit for ultimately coming around and doing right by the band: “He did the right thing at the end of the day. He did the right thing for the band.”

The dispute had been brewing since Simpson — now in his late 80s — announced plans last year, weeks before Ozzy‘s death, to release Earth: The Legendary Lost Tapes, a set of 1969 demos originally scheduled for July 2025. Simpson managed Black Sabbath during their earliest days and claimed he paid for those sessions himself when the four Birmingham lads were still teenagers performing as Earth. He had restored and remastered the recordings through his Birmingham blues/jazz imprint Big Bear Records.

Simpson had previously stated that he reached out to the band members about the project in September 2024, only to be turned down — including, he said, via legal threats from Sharon: “I approached members of the band about this on 24 September 2024. The message I got back was that they didn’t want it released and wanted nothing to do with it. This included two very threatening e-mails from Sharon. But the band had every chance to be involved.”

He had made clear why he felt the release mattered: “My reason for launching this album is because it will become a crucial segment of music history. It contains recordings that clearly demonstrate what fine music Ozzy, Tony, Geezer, and Bill were producing right from the very beginning in their pre-Sabbath days.

“It shows how these four young men from Birmingham, barely out of their teens, were already remarkable musicians when they existed as Earth, and that they fully deserved all the success that was to come their way as Black Sabbath.”

Earth: The Legendary Lost Tapes reportedly includes three blues covers — “Blue Suede Shoes,” “Evenin’” and “Wee Wee Baby” — alongside two versions of a track called “Song For Jim” (the title referencing Simpson directly, per Jim). The first version features Iommi on guitar, while the second showcases a rare flute performance. Rounding out the tracklist are “Untitled,” “Free Man,” “Wicked World,” and “Warning.”

Simpson had previously said of the project: “If we can finally release this album, it will be a great gift to the music world and to millions of Sabbath fans.”

With the settlement now in place, what becomes of those recordings is a decision that belongs entirely to the band.

The post SHARON OSBOURNE Confirms Settlement With BLACK SABBATH’s First Manager Over Early Band Recordings: “I’m Just Happy That It’s Where It Should Be — With The Band” appeared first on Sonic Perspectives.

As Coal Chamber gets ready to hit the stage as part of the Sick New World festival in Las Vegas, on Saturday, April 25, Coal Chamber drummer Mikey “Bug” Cox is today making his own personal revelation that he has been fighting–and winning—a battle with cancer. As a result of his recovery, he is proud to announce his partnership with Fxck Cancer to hold a special auction of a custom one-of-a-kind drum kit from ddrum with proceeds going to cancer support and research.

Here’s a statement from Mikey “Bug” Cox: “GRATITUDE. It’s a word that gets thrown around a lot, but it hits differently for me these days. On April 1, 2025, I was diagnosed with Stage 3 cancer. I’m not unique. It feels like a lot of us are dealing with this or know someone who is. It’s dark, it’s scary, and it changes the lives of everyone in its orbit.

The first thing I said to my wife was that I was going to fight with everything I had for my family! There were a lot of days I couldn’t make it out of bed, but I didn’t want cancer to define me. So, I finished building the house I was working on with my Bash Construction Group company, and I wrote some of the best music of my life! After a yearlong battle and absolutely brutal rounds of radiation, chemotherapy, and eventually surgery, I’m so grateful to be able to say I made it to CANCER FREE.

The second thing I said to myself was that I wanted to create something positive out of this situation, and that’s where we are today. I hope you’ll join me as I partner with Fxck Cancer to auction off a custom, one-of-a-kind drum kit from ddrum, Scorpion Percussion, TRX Cymbals, and Gator Cases with proceeds to bring awareness, support and resources to those who may find themselves in this unpredictable and unwanted community of warriors.

I’ll have so many people to thank and share my story with in the coming days, and I will be highlighting some of the amazing people and organizations that are working with us to make this goal of mine a reality.

Today I celebrate life, healing, and the strength it takes to survive. I cannot wait to get back on stage post-cancer. These upcoming shows are going to be something truly special.

I chose to partner with Fxck Cancer, because of its bold, direct approach to a disease. Their work breaks stigma, encourages honest conversations, and promotes early detection in a way that resonates—especially with younger audiences and the music community. Its unapologetic voice makes the message feel urgent, relatable and empowering, helping people face cancer head-on instead of avoiding it.”

Please click this link for more information or to donate: Coal Chamber drum kit giveaway for charity | Fxck Cancer.

Coal Chamber is a pioneering American nu metal band formed in Los Angeles, CA that was formed in 1993. Known for their dark, groove-driven sound and gothic aesthetic, the band became a defining force in the late ’90s heavy music scene alongside acts that helped shape the nu metal movement. Fronted by Dez Fafara, Coal Chamber broke through with their Gold-certified self-titled debut album in 1997, followed by the critically recognized albums Chamber Music (1999) and Dark Days (2002). After disbanding in 2003, the group reunited in 2011, returning to the stage and releasing Rivals (2015), their first studio album in over a decade. With a legacy rooted in heavy riffs, haunting atmospheres, and a fiercely loyal fanbase, Coal Chamber remains an influential name in alternative metal and nu metal history.

Fxck Cancer’s mission is to fight cancer by raising awareness with an emphasis on early detection. We aim to eliminate late-stage diagnoses and improve outcomes for those affected. Through our Dyin 2 Live Dreams program, we seek to uplift and inspire individuals battling cancer by offering unique and inspiring VIP experiences that bring hope, strength, and resilience.

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Fifty years ago, on April 23, 1976, Ramones dropped their debut Ramones and set off a shift that still runs through punk and hard rock. Built on speed, volume, and stripped-down songwriting, the record cut through the excess of the time with a direct approach. The lineup — Joey Ramone, Johnny Ramone, Dee Dee Ramone and Tommy Ramone — delivered short, sharp tracks like “Blitzkrieg Bop” and “Judy Is A Punk” that reshaped the sound and attitude of rock.

Reflecting on the album’s impact, Rolling Stone wrote: “Punk rock started in 1976 on New York’s Bowery, when four cretins from Queens came up with a mutant strain of blitzkrieg bubblegum,” when naming Ramones the No. 1 “Greatest Punk Album Of All Time” (later naming it the No. 1 “Best Debut Album Of All Time”). “But even if punk rock began as a kind of negation — a call to stark, brutal simplicity — its musical variety and transforming emotional power was immediate and remains staggering.”

Decades later, the record still carries weight. As The New York Times put it: “the album’s influence has been incalculable”, and the reach of Ramones continues to expand. To mark the anniversary, the band’s camp has teamed up with Rhino Entertainment to roll out a year-long series of events focused on the album’s legacy and the wider impact of punk.

One of the key pieces is an official exhibition organized by The Punk Foundation alongside Linda Ramone and Ramones Productions Inc. The exhibit will debut at The Punk Rock Museum on July 4, 2026, bringing together music, memorabilia, and the broader cultural footprint of the band. The program will include live performances, artist talks, interactive elements, guided tours, and workshops tied to the band’s influence across music, art, and design. The museum will also host a 4th of July bash featuring the Ramones tribute band Mama’s Boy.

Additional releases and tribute events are planned through the end of 2026. A set of remastered and upgraded videos is already available, covering tracks like “I Wanna Be Sedated”, “Psycho Therapy”, “Rock N Roll High School”, “Sheena Is A Punk Rocker”, “Merry Christmas (I Don’t Want To Fight Tonight)”, “We Want The Airwaves”, “Time Has Come Today”, “I Wanna Live”, “Something To Believe In”, “Howling At The Moon” and “Do You Remember Rock And Roll Radio?”.

The post RAMONES Mark 50 Years Of Debut With Reissues And Museum Exhibition appeared first on Sonic Perspectives.

A dispute over early recordings connected to Black Sabbath has been settled, with the band now back in control of the material. Sharon Osbourne confirmed, on the latest episode of The Osbournes podcast, that ownership of the demos has returned to the original lineup.

The issue centered on plans from former manager Jim Simpson to release a set of 1969 recordings tracked before the band adopted the Black Sabbath name. At the time, they were still performing as Earth, and the material was lined up for release under the title Earth: The Legendary Lost Tapes. Legal action led by Osbourne stopped that from moving forward.

Speaking on The Osbournes podcast, Sharon said the situation has now been resolved: “We settled with Jim Simpson and the band now have their demos back. And all four of them [the original members of Black Sabbath] own it, which is where it should be. All of that stuff should be theirs. So it all ended well. So, yeah, they own them. We’re gonna talk about what everybody wants to do with it, and we’ll go from there.”

The recordings capture the original lineup — Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward — at an early stage, before the band’s defining shift into heavy metal.

Sharon pointed out that the material reflects a different side of the group compared to what followed: “I just think it’s historically important – for music lovers of that genre. And then we got [the rights to] the pictures that were taken at that time too. So, that is all so important.

“I mean, listen, you [Jack] want those pictures. Everybody in the band’s kids and grandkids would love to see [them]… It’s special. And I’m just happy that it’s where it should be – with the band, and [they can decide] what they wanna do as a band, what they’re gonna do with it. So that’s great.”

Along with the demos, rights to photos from the same period have also been returned. These items document a key moment in the band’s early development and carry weight both for fans and for those close to the group.

Simpson, who originally backed the sessions in 1969 and later worked on restoring the tapes, had maintained that the recordings held historical value. He also said he had approached the band about being part of a release, though that offer was turned down.

Despite the earlier dispute, Sharon acknowledged how things concluded: “He did the right thing at the end of the day. He did the right thing for the band.”

The post SHARON OSBOURNE Resolves Dispute With BLACK SABBATH’s First Manager Over Early Recordings appeared first on Sonic Perspectives.

Finnish folk metal mainstays Ensiferum are heading back to North America this fall with the Winter Storm Over North America 2026 tour, kicking off in September. Joining them on the run is Firewind, led by guitarist Gus G, widely recognized for his time playing with Ozzy Osbourne.

The tour kicks off on September 9 at ProgPower USA XXV and wraps up a few weeks later on September 27 at the El Corazon in Seattle, WA. Tickets go on sale Friday, April 24 at 10 a.m. local time.

The tour continues the push behind Winter Storm, released in October 2024 via Metal Blade Records. The album took shape during the COVID lockdown, when founding guitarist Markus Toivonen focused on expanding his songwriting approach. He handled nearly all the material, with bassist Sami Hinkka contributing the track “Fatherland”.

Vocalist and keyboardist Pekka Montin continues to play a key role in the band’s evolving sound. After making an impression on Thalassic, his range is more fully integrated on Winter Storm, which follows a fantasy-driven concept written by Hinkka. The record leans into a more expansive and melodic direction without losing the band’s core edge.

Production on Winter Storm was handled by Janne Joutsenniemi, with mixing and mastering by Jens Bogren. The album also features guest spots from Lassi Logrén on nyckelharpa and violin, Mikko Mustonen on orchestration, and Eleine vocalist Madeleine Liljestam, who appears on “Scars In My Heart”.

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